Many thanks to Justin Boggan, who has worked hard to seek out uncredited
and additional composers, and to Bleu Jean Management for DRS details.
Other uncredited composers are only added here were confirmed by sources
other than imdb.com.

Dear reader: the new information added below was mostly
gleaned by Justin and confirmed by Blunt through two rights organisation websites:
http://www.ascap.com and
http://www.bmi.com. Although
these sites are deemed more reliable than IMDb.com since they are used directly
by the industry itself, neither site can claim to be beyond error (the BMI
site ensures you understand this), and certainly neither site gives a particularly
clear indication of the extent of the listed composers' involvement.

Walter Murphy

Composer for Buffy's first season, Murphy set up a continuation of the electronic
"spook" style which had firmly dated the original Buffy filmfor
better or worseand which, in hindsight, could have scuppered the gradual
solemnification of much of Buffy's subtext. Murphy has gone on to achieve
an Emmy for the title song ('Youve got a lot to see') to another television
series, Family guy

Shawn K. Clement & Sean Murray

When set against Beck in season 2, alternating episodes in a motley fashion,
Clement and Murray veered closer to the sythesized style set by Murphy, but
by season's end Beck was given finale duties and took the reins fulltime for
the next two seasons, thereby redefining the show's home soundworld. Further
information on Clement's varied career is available at http://composersnet.com/clement/bio.html.
Both composers have since continued their successes scoring mainly for television
and video game genres. A 'Film & TV Music of Shawn
K. Clement' promotional set [reported by Justin Boggan] contains score on
the second disc from Season 2 of Buffy. A pity that clemistry.com
sells a disc reported containing only songs from the show, but the audio clips
section does include tracks from the promotional album (36. Werewolf in the
alley, 37. Angel hates fish, 38. Open door, 39. The chase, 40. Cordelia's
bear, 41. Start the ceremony).

Robert Kral

While Buffy the vampire slayer in its fifth and sixth seasons turned
its metaphorical head more towards internal and personal troubles, returning
to cinematic indulgencies in the run-up to finales, the second and third seasons
of Angel retained much of the show's original bloody-minded symphonics;
continuity was further enhanced by Kral's heavy involvement in the first season
also. With this thought in mind, Kral's continuation of Beck's ambitious mostly-synthetic
orchestrations, whilst toning down some of the more soothing femininity of
the Buffy personal element has been very appropriate, and is born out of CB's
own grittier underscoring for the brooding hero in his first season. More
can be read of this composer by following the link to a page at CityOfAngel.com:
http://www.cityofangel.com/behindTheScenes/bts/kralLA.html,
or reading an interview at the BBC's
website: http://www.bbc.co.uk/cult/buffy/angel/interviews/kral/index.shtml.

Update 2004.10 A promotional disc is reported [by Justin Boggan] to exist
with selections from Angel (and the short lived series Miracles),
including an un-used version of a cue. The Angel tracks are listed
as: 6. Massive Assault (3'15), 7. Rebellion (2'59), 9. Forbidden memory /
Darla's fire (2'12), 11. Princess Cordellia (1'21), 13. Ultimate Sacrifice
(1'30) (Un-used version of Angel sacrificing his life for Darla in "The
Trials."). Additionally, the BBC's cult Buffy
site has news from Kral himself that Fox has finally agreed tentatively
to a commercial album. He is now busy arranging some of his music for album
length, with suggestions invited from buffydownunder.com.

Update: 2005.02.25 The long-rumoured Angel soundtrack was released
earlier this year, at first through iTunes and FOX store only, then as a disc
in the UK (2005.02.21), and finally as a CD in America
(2005.05.17). It also contains a few relevant songs and even a cue
by Chris Beck from the first episode, hence its inclusion in this site's film/tv-ography.

Thomas Wanker

Bluntinstrument has been unable to find a decent information source on this
composer, whose work on the 5th and 6th seasons of Buffy has maintained a
constant tone beneath the sometimes overly-drawn-out storylines. An impressive
opening with Buffy vs. Dracula (5.01) showed reasonable flair with
action set-pieces, but these were perhaps not varied enough over the next
two years, and the composer's strength has since been shown to be in unassuming
mysterious underscorewell-suited to the 6th season. Even before quitting
Buffy, he has managed build up credit in television movies in the US and Germany.
A promotional disc is rumoured to exist.

Like all the names so far associated with Buffy, DRS's is not truthfully
well-known, although a brief glimpse at the imdb.com
page shows close work connections with CB both in Buffy and in
films such as The Tuxedo and Big Fat Liar. "Quietly"
replacing Thomas Wanker with the premiere to Buffy season 7, DRS's
style showed a return to form for the show in terms of action/horror music,
matching the styles of both Beck and Angel's Robert Kral without danger
of plagiarism. Unfortunately, despite an 18 month association with Beck (in
Once more with feeling (6.07) he is credited as Douglas Stevens), whom
he credits as of great value in aiding his composing apprenticeship and entry
into Buffy scoring, and despite planning themes for the whole season
and even bringing back Chris Bleth to play woodwinds, his involvement was
limited to 'Lessons' (7.01), 'Same time, same place' (7.03) and arranging
Joss Whedon's "Mrs." song for Anya in 7.05. Luckily his involvement
in the genre continued, providing music from 2002.09 for Angel 4.08-4.21
and 5.01-5.04, 5.06-5.11, 5.13-5.21.
Ironically, his services to Angel included an opportunity to score
Spike's firey return from his Hellmouth end during Buffy 7, and for
this he used the theme he originally planned for the characterit has
been added as a soundclip to his official website. Here is what DRS had to
say for his experience:

2005.05.01 update: "I have to agree with you
on wishing I could have scored the whole season of Buffy. The Hellmouth
cue from Angel was a strange opportunity but I'm glad it came along.
The Angel producers said they definitely didn't want to use the score
from the Buffy episode for the scene so Rob thought I might like to
take a crack at it. [snip] I had created a Spike theme for Buffy season
7 after talks with the producers about upcoming stories (back in August 2002).
It seemed that Spike was going to be taking on a new, significant role in
saving the world in season 7 and could certainly support a theme. I gave a
hint of it in "Lessons" when Buffy finds him in the school basement.
I was then planning to present it more fully in the next episode when Spike
falls on the alter in the church. It was a powerful scene and I envisioned
presenting the theme as a "Kyrie" of sorts with boy soprano. However, I was
informed that I would not be scoring the second episode before I ever got
that far. "Same Time, Same Place" didn't really provide an opportunity to
deal with Spike per sayhis scenes were more about Willow. So when the
Angel episode with the Buffy finale scene came up I decided
to do what I think I would have done had Buffy continued to be mine
to score. I was told in our Buffy pre-season talks that Spike and Buffy
would have a connection in season 7 (beyond rape) so I had tailored Spike's
theme with an eye toward it being played as a love theme eventually. On Angel
I finally had my chance."

Naturally all this ended with the cancellation of Angel, but did at
least allow the composer the chance to trumpet his involvement in both series,
and he has added uncredited work to the show Miracles (1.02-1.13, dating
from 2003.01). Doug composed uncredited 'additional music' for season one
of Duck Dodgers, episodes 1.02-1.06, 1.09-1.13, then worked (with
credit) on additional music for season two and three, with Rob Kral credited
as principal scorer.

Doug has had five short films on release to film festivals, including Sunday
Paper, Antebody, The Jackalope, Patching Cabbage
and Paper Cut, and one feature documentary named H.H.Holmes: America's
First Serial Killer (released by Facets MultiMedia, Inc. 2004.10.26) which
garnered 'Best Documentary' at Screamfest LA, and has now been released on
DVD (region 1 so far). Patching Cabbage was directed by Peter "Pre"
Rhoads, an apprentice under Shawn Levy on Big Fat Liar and Just
Married. Doug also scored The Skulls 3 (video/DVD movie) with Beck
and others, and music from this film and details of his work are available
from his regularly updated official site at http://www.bleujean.com/drs.html.

2005.03.13 update. Bleujean have added new photos to their site, plus inform
of two new films released at festivals (Shelter is viewable via the
internet/MediaPlayer, after signing up free at Cinequest).
For those more interested in the website's music bounty, Bleujean have added
new clips from Duck Dodgers, Miracles and the fifth season of
Angel. Here is what they say on the latter: "Puppet Fight"
from the season 5 episode in which Angel becomes a puppet, and "Hellmouth"
from a season 5 episode in which Spike mystically appears in Angel's office
straight from the final Buffy episodethe show's creators wanted
the cue re-written, so Kral asked DRS to score the cue using the Spike theme
he originally wrote for Buffy as it's composer.

2006.01.29 update. Bleujean (http://www.bleujean.com/drsmusic.html)
have added a new collection of promotional cues to their site, many of which
are truly impressive in their scope and melody. Although posted as "ScienceFiction/Thriller",
they are in fact gleaned from his recent project Entity Nine, which,
despite a budget dictating the usual reliance on samples and synths, has managed
to squeeze in live performances from Chris Bleth (a Buffy regular who
has been engaged by DRS in the past, here playing flute and clarinet), John
Wittenberg, Kirstin Fife, Vladimir Polimatidi and Philip Vaiman (violins),
Stefanie Fife (cello), Doyal Livingston (vocals), and Stevens himself on the
piano. The result simply reminds us how much a little live playing can add
to the scope of a synth score - the cues are full of vitality and well worth
the download. If Entity Nine were playing in the UK I couldn't think
of a better stimulous to watching it.

2006.04 update: score reviews. The kindly people of Bleujean sent copies
of both film and soundtrack for Entity
Nine and Shelter, both short films, slick in their own genres,
one a sci-fi modelled on The Sixth Day and the other a Magnoliaesque
interlinking of storylines between desperate or sad people. Doug's scoring
for both was not only apposite but, in my opinion, probably of better value
than either film would normally have expected. Entity Nine in particular
pulls out the stops to deliver excitement in the quasi-orchestral fashion
DRS exhibited so well in the Buffyverse. He brings in Buffy regular and all-round
woodwind whizkid Chris Bleth (on flute and clarinet) and supplements with
four violinists and a cello. The result is economical but thrilling (think
A.I. in places?), and there are sci-fi/action feature scores that do
a lot less. Shelter, then, is a complete contrast, reducing the scoring
down to little more than string synths, atmospherics (rain fx, synth-sound,
some very soft marimba percussion?) and delicate piano. In its own way this
is the more effective score because it lets the drama play out with the barest
emotional wallpapering.

2007.10 update: Rocketboy (whose score was featured in 'Expressing
the Inexpressible') has been nominated for best score for a student film by
the Film
and TV Music Awards (voting now closed). The Film & TV Music Academy
is a peer-based organization designed to recognize those working in the music
fieldscomposers, performers, music editors, mixers, etc. The film's
trailer is streamed from the composer's
website and shows off the score too.

[Many thanks to DRS and to his representatives at Bleujean
for providing information]

Robert Duncan

Sadly Bluntinstrument has no details concerning the style or technique this
composer has adopted for the show, but fortunately he has an informative website
at http://www.duncanmusic.com
which includes a biography, list of credits, contact details and a collection
of downloadable mp3 files. (Many thanks to Vanessa Knights for the link; Bluntinstrument
has e-mailed the webmaster for permission and waits for confirmation)

Nerf Herder (composer, Charlie Dennis)

Dennis's involvement (BMI lists
Charles David Dennis, Parry P Gripp and Stephen L Sherlock) with Buffy
is limited to the cast and crew's warming to an already-composed tune above
the attempts of a specially-hired composer's efforts (Justin suggests Walter
Murphy). Whedon's decision to use the band (according to his DVD commentary
for "Welcome to the Hellmouth" (1.01)) appears based on being force-fed
it debut album by Alison Hannigan (actress playing Willow) during filming.
Nerf
Herder.net FAQs claims that their cheapness was also a contributing factor.
An interview concerning this has been posted by Five
Arabs. Nerf Herder's performance was cleaned somewhat for the opening
titles of season 3 and beyond.

Kevin Manthei

Best known now as a composer for computer games (including, oddly enough,
Vampire The Masquerade), Manthei's previous credits (almost non-credits)
have been mostly for providing additional music for productions in film and
television. These appear to include a number of scores by composers Marco
Beltrami (Scream, The Faculty and others) and by Chris Beck
(Buffy, Crossworlds). Fortunately his name has a presence on
the web. The Kevin
Manthei Productions website has a credits list as well as other details
about the composer; there is an interview with him at Music4Games
(which is informative about his scoring methods in general); and another at
Strategy
Planet which includes a picture. Update 2008.5:
Justin confirms his Buffy work was for Beck, and that he also ghosted
music for FX: The Series.

Tony Morales (Richard Anthony Morales)

His 'Film & TV Music' disc contains two cues from his additional, uncredited,
work on season 6. 'Willow kills Warren' and 'Buffy confronts demon' (unclear
which particular confrontation this refers to). Credited by BMI
as having worked with Thomas Wanker. Update
2008.5: Morales has a website at http://www.tonymoralesmusic.com.
Although I can see no downloads of music, he credits hiumself with "additional
music" for 2001-2002, which should tally with the promo disc.

George Sarah

A TV and Film Music promotional disc includes some additional uncredited
music from Buffy and Angel, in the form of 'instrumental songs'.

Brian Ralston

Robert Kral, busy with new TV show Miracles, brought Ralston in to
help him out with the first few episodes of Angel's fourth season.
Kral was still key composer even here, though, and was later able to continue
with his established help. Scenes included Angel's visit to Dinza's lair in
"Ground State". Ralston was given a free reign but keeps close to
the style Kral had established for the show. Ralston has a website at brianralston.com

Alex Kharlamov and Marina Kotsios

A now-defunct official website for Alex Kharlamov and Marina Kotsios (http://www.kharlamov.com/MagicalScores/)
confirmed that both composers composed music for Angel, and that Kharlamov
appeared to have scored for Buffy and The Practice, all as 'additional' music.
The website contained an introduction to the composing team and music clips
from the shows (Angel 1999, Angel/Buffy/The Practice
2001). More recently Kharlamov gained himself a new website at http://www.kharlamov.com/
but this omits clips of additional music, despite the site referring to work
with Chris Beck on music for Buffy/Angel (and ASCAP
confirming his involvement). It is sad that these clips are lost, and the
information pool reduced.

The drawback of kharlamov.com is its dry professionalism, which makes Garageband's
site all the more valuable. At http://www.garageband.com/user/kharlamov
a biography includes the following rather illuminating text:

In 1999, AK worked for a top Hollywood TV and film composer Christophe
Beck as a full-time music assistant, working for some months without hardly
any time off; trying to keep up with performing musical, administrative,
engineering, booking, musical/composing, software-testing and organizational
studio tasks all at the same time. This work has let Alex to learn about
many degrees of fast-paced Hollywood music business and production discipline
- an indispensable type of knowledge, which he could not have acquired otherwise.
After being fired for the lack of his office organizational skills, he started
to put together his own recording setup - several years after he sold his
previous one (in 1997), when he moved to Los Angeles.

October update: good news via Justin Boggan. Here it is in Alex Kharlamov's
words:

I have just re-designed my website, and it now contains downloadable mp3's
of some of my Buffy and Angel cues (under Music/Electronic-Orchestral...). If
you do update that page with newly-found info, then could you please include
this info on the website? Thank you in any case :) www.kharlamov.com

A future update will incorporate this information to correct that above,
once I have checked out the site again.

2006.01.29 update. Justin been informed by AW himself that he
made no input to Buffy, but rather existing work of his was acquired for inclusion.
No further detail could be remembered.

Dana Niu

Reputed to be a contributor of music to Buffy, Niu is
currently a regular orchestrator for Brian
Tyler. In response to my questioning, Mr Tyler e-mailed back promptly
informing me: "Yes Dana Niu was an excellent composer for Buffy the
Vampire Slayer. I believe it was the 2000." Investigation left at
this point since Ms Niu is no doubt busy on current projects.

Richard Band

A 2-disc promotional set titled 'Up & Down: Richard Band'
includes music totalling ca.5'30" used for advertising Buffy the Vampire
Slayer.

Carter Burwell

After much arm-twisting, Justin
won Burwell a mention in the hall of fame for having written the music not
for the television series but for the 1992 film it grew out of. Whedon's experience
with this picture was not a happy one (in fact his script was "lightened",
and the 1997 television series is widely regarded as having grown out of his
original screenplay rather than the Luke Perry romantic comedy vehicle it
became), but Burwell shouldn't be blamed, and his track record for previous
films (Psycho III, Blood Simple perhaps) may have made him a
decent choice. Born in 1955, his film career started in the mid-1980s, hitching
a ride to respectability along with the Coen Brothers, whose preferred composer
he remains. He has a homepage at http://www.carterburwell.com.
Boggan cites a 4 disc CD set titled 'Fox Music Publishing Sampler' as including
an unsoecified amount of music from the Buffy score.

Joshua Scott Kramon

The BMI database
groups Josh Kramon (as he is referred to elsewhere) with Chris Beck for Buffy
scoring, although no other source supports this. It is notable that his connection
with Beck is confirmed by his involvement as guitar player for the film Coming
Soon. Kramon has since made a name for himself both as film composer (e.g.
for gore fest Cabin Fever) and songwriter (http://www.cdbaby.com/cd/kramon).
He is represented by Ingenuity Entertainment (noted 2003).

Thomas (Felix) Schobel and Harald (J.) Kloser

According to the BMI
database, Thomas Wanker's co-workers in film projects (Kloser was his co-composer
on The Thirteenth Floor, and more recently on The Day After Tomorrow;
and Schobel has since been linked with Wanker on film projects such as Alien
Vs. Predator) were also involved in his stint scoring Buffy's fifth
and sixth seasons after the departure of Chris Beck. Their close working relationship
is apparent, but the extent of their work on Buffy has yet to be measured.
Update, 2006.12: Justin found Schobel,
who claims to have written only one cue for Buffy (during Wanker's tenure).

David (M.) Klotz

Confirmed as a contributor at BMI,
Klotz's main claim to fame on the web is as a member of a band called Fonda.
Shmat.com
has a quotation from him as "Dave", claiming to be "making
a living by music editing for TV shows like Buffy The Vampire Slayer
and Tru Calling". Perhaps his involvement was only as editor,
or perhaps some of his role was expanded when work pressure for the series
overtook the composer. His IMDb.com
credit in this role is for the final season only. SplendidZone.com
has an interview with Fonda members, and mentions their (sic.!) music being
included in Buffy (at least before the middle of season 5). Fonda's
song "The Sun Keeps Shining on Me" certainly appears on the UK version
of "Buffy The Vampire Slayer:
Radio Sunnydale". Update, 2006.12:
Justin has a reply from the man himself: "Occasionally, I would contribute
an original piece of music or musical element usually to help fix a transition
to or from a source cue." However, he also mentioned season 7, so the
duration of his tenure (and under which composer(s)) is still unconfirmed.

John (Christian) King

Confirmed by BMI listings,
it must be hastily added that this cannot be the same composer as that honoured
at johnkingmusic.com
(who is a classical composer and guitarist, and appears at home with anything
from experimental electronics to opera.. but not cult television scoring).
The correct John King was the Music Supervisor for both Buffy (from
part way through) and Angel (i.e. he made decisions over what songs
to use and how they should fit with the score), and producer of the UK version
of Radio Sunnydale (he also
contributed to the booklet notes). An interview with him is available at TVtome.
He even got to gether with Script Coordinator Tamara Becher to form a band
called "Yank". In Buffy he recorded the guitar part for Anthony
Head's cover of The Who's "Behind Blue Eyes" in the episode "Where
Wild Things Are" (4.18) (thanks to buffyworld.com
for the information). Whether or not he actually composed the guitar accompaniment
or indeed any other music for the shows is unclear, though, beyond the hazy
BMI mention.

Not a composer for the television series but for the video game (for the
main game stations but not PC) "Buffy the Vampire Slayer: Chaos Bleeds".
Buffy fan Robert Markham suggests that the game also includes music (described,
tantilisingly as "chilling") from season 4 Beck scored episode "This
Year's Girl" but so far there is no confirmation officially or from other
contributors. Gamers are welcome to comment!

Borisavljevic is credited for unverified episodes/cues of Angel in the IMDb.
This is supported by a link to Beck through writing 'commercial music' used
on The Alarmist (1997/8).

Danny Scott Lux and Eric V Bikales[NEW]

Listed at BMI.
Justin followed this up and has found that they contributed one cue from Beck's
tenure on the episode "Amends" [3.10] -- which at the time was being
titled "Deck the Halls".

And perhaps...

Joss Whedon for various isolated (and unverified) involvements, and
as songwriter for "Once more, with feeling" and the song "Mrs",
used in episode 7.05. ASCAP
lists him with Angela Ruth Hart (of the band Splendid)
for the song "Blue", which topped and tailed the creepy episode
7.07 "Conversations with dead people". [Thanks to John Pavlich for
the research]Ib Glindemann (Justin has found him mentioned at ASCAP or BMI), whose
Danish website at http://www.glindemann.dk places him as a conductor of swing
music in festivals etc. Whether this is the same man and how he got to be
involvemed with a Hollywood television production is unclear.Alan (Paul) Ett and Scott Gimore Liggett This duo was credited by BMI.
Born in 1952, according to IMDb.com, Ett was certainly very active in television
scoring during the late 1990s. www.aemg.com
lists Alan Ett as one of the composers in the Alan Ett Music Group, which
has produced work for a variety of television series, games, adverts, promos
and even logos, but no mention of Buffy appears. The closest (but tenuous)
link is that one of its promos listed is for Warner Bros., which could link
to the WB channel which hosted Buffy and Angel in their early
years. Michael (W.) Jones: Co-credited at BMI
with Johann Pachelbel, baroque composer famous for a canon for strings. Sure
enough, there is a CD
by "David Lanz/Michael Jones" called "Winter Solstice"
and including a track titled "Improvisation On A Theme (From Pachelbel's
Canon In D Major) - David Lanz" - strangely enough, yes, it is crediting
the other composer. Perhaps it was used for some kind of classy or
grand event in the series, such as in Graduation. Eagle-eared listeners might
be able to confirm.Neil (Richard) Claxton and Christopher (Paul) Baker Listed at BMI.
Claxton has a website at http://www.mint-royal.com. Investigation continues.Fernand G Bos Listed at ASCAP
for cues, but unverified.Thomas Morgan Edwards II Listed at ASCAP
for "cues" but a note is "Harmonica player" is also included,
though no performer listed, so presumably not pop? This is a tricky one. Kevin Michael Manthei Listed at BMI.Wataru Hokoyamawww.wataruhokoyama.com
gave this composer credit for orchestrations for Buffy in 2002. It
has been confirmed from another source that Hokoyama's only contribution was
orchestrations for the song "Mrs" which was used in 7.05. Engaged
for this as a trial for future involvement, this became irrelevant when Douglas
Romayne Stevens' services were no longer required as composer.Dannen Wilsey Angel is among his credits on www.darrenwilsey.com,
although further details are not given.